Welcome to the Alembic Maya, a speculative narrative that goes on, without end, in a futile but earnest attempt to find { y-y-you }. You fly, lucid-dream like, through the glass city. A slick voice, soothingly feminine but jarringly digitised, leads you through the geography of the space. There is something you are looking for, amongst the translucent objects in this landscape, so devoid of human presence and yet filled with machines and apparati traditionally created for human function. In one of the rooms is Arbiter, mediator of things. It knows where you must go.

Welcome to the Receptacle of Things. Step into the dome one at a time to avoid injury during travel at the speed of metaphor.

This is an “ontography” or geography of objects in both real and virtual space. “Arbiter”, my sound reactive sculpture (interacting with audience voice and ambient noise), is reproduced digitally in my video, which is projected inside half of a geodesic observatory-style dome.

The contemporary Object is tessellated like a geometric hexagon, or perhaps something more like Buckminster Fuller’s geodesic dome. It is 2D and 3D, appears one way and then depicts itself as another. Formless, yet structured, it nevertheless retains its own agenda. Is it reasonable to declare that the way to approach the Quadruple Object within its equally alien landscape is not straight on but from side to side, from multiple perspectives - like Christopher Nolan’s recent film Interstellar, to construct an understandable and recognisable 3D space within a fifth dimension? The intention is not to create a spectacle but a point of departure, which is a necessarily distorted one. How can we encounter these ripples of distortion?